Actaeons to think about
I.D.R. in Grafton and Most, The Classical Tradition, s.v. “Actaeon”
Ovide moralisé 3.336-675 (early 14th century): OGCMA0017Actaeon_OvideMoralise
Actaeon allegorized as Christ.
The heroic victim is wounded, killed, and heroized as in the Passion and Resurrection
Boccaccio, Ninfale fiesolano(mid-14th century): OGCMA0017Actaeon_Boccaccio2
Actaeon pursues Diana deliberately, as a knight would in courtly romance.
She is a divinity sworn to virginity, divine purity.
Jacopo Sannazzaro, Arcadia (1504): OGCMA0017NOTActaeon_Sannazzaro
Much as Boccaccio’s
Giles of Viterbo, Sentences according to the Mind of Plato (1506-1512): OGCMA0018NOTActaeon_Giles
The Christianized myth of Actaeon has deliberately Neoplatonic slant
Cf. Giles’ other La caccia bellissima dell’amore(The Most Beautiful Hunt of Love) (1506): OGCMA0018NOTActaeon_Giles2
Diana is an allegory for the human soul, Actaeon a philosopher searching for traces of divinity.
When Actaeon sees the goddess, his soul is elevated to a higher level
Giordano Bruno, De gl’eroici furori (On Heroic Frenzies) Part 1, dialogue 4: OGCMA0019Actaeon_Bruno
Further development of Giles’ ideas: Actaeon as philosopher.
William Shakespeare, Twelfth Night 1.1.18-22 (1600)” OGCMA0019Actaeon_Shakespeare
Duke of Orsino is plagued by unrequited love for Olivia (he makes himself Actaeon, her Diana).